LITMIR.BIZ

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with what is actually the case, take the part of the fallen woman). But there still remains to be explained the throwing of the basket, and the throwing of it through the window. This takes her to the transference of baggage on the railroad, to the Fensterln¹⁶ in the country, and to minor impressions received at a country resort, of a gentleman throwing some blue plums to a lady through her window, and of the dreamer's little sister being frightened because a cretin who was passing looked in at the window. And now from behind this there emerges an obscure recollection, from her tenth year, of a nurse who made love at the country resort with a servant of the household, of which the child had opportunity to see something, and who was "fired" (thrown out) (in the dream the opposite: "thrown into"), a story which we had also approached by several other paths. The baggage, moreover, or the trunk of a servant, is disparagingly referred to in Vienna as "seven plums." "Pack up your seven plums and get out."

      My collection, of course, contains an abundant supply of such patients' dreams, whose analysis leads to childish impressions that are remembered obscurely or not at all, and that often date back to the first three years of life. But it is a mistake to draw conclusions from them which are to apply to the dream in general; we are in every case dealing with neurotic, particularly with hysterical persons; and the part played by childhood scenes in these dreams might be conditioned by the nature of the neurosis, and not by that of the dream. However, I am struck quite as often in the course of interpreting my own dreams, which I do not do on account of obvious symptoms of disease, by the fact that I unsuspectingly come upon a scene of childhood in the latent dream content, and that a whole series of dreams suddenly falls into line with conclusions drawn from childish experiences. I have already given examples of this, and shall give still more upon various occasions. Perhaps I cannot close the whole chapter more fittingly than by citing several of my own dreams, in which recent happenings and long-forgotten experiences of childhood appear together as sources of dreams.

      I. After I have been travelling and have gone to bed hungry and tired, the great necessities of life begin to assert their claims in sleep, and I dream as follows: I go into a kitchen to order some pastry. Here three women are standing, one of whom is the hostess, and is turning something in her hand as though she were making dumplings. She answers that I must wait until she has finished (not distinctly as a speech). I become impatient and go away insulted. I put on an overcoat; but the first one which I try is too long. I take it off, and am somewhat astonished to find that it has fur trimming. A second one has sewn into it a long strip of cloth with Turkish drawings. A stranger with a long face and a short pointed beard comes up and prevents me from putting it on, declaring that it belongs to him. I now show him that it is embroidered all over in Turkish fashion. He asks, "What business are the Turkish (drawings, strips of cloth...) of yours? But we then become quite friendly with each other.

      In the analysis of this dream there occurs to me quite unexpectedly the novel which I read, that is to say, which I began with the end of the first volume, when I was perhaps thirteen years old. I have never known the name of the novel or of its author, but the conclusion remains vividly in my memory. The hero succumbs to insanity, and continually calls the names of the three women that have signified the greatest good and ill fortune for him during life. Pélagie is one of these names. I still do not know what to make of this name in the analysis. À propos of the three women there now come to the surface the three Parcæ who spin the fate of man, and I know that one of the three women, the hostess in the dream, is the mother who gives life, and who, moreover, as in my case, gives the first nourishment to the living creature. Love and hunger meet at the mother's breast. A young man—so runs an anecdote—who became a great admirer of womanly beauty, once when the conversation turned upon a beautiful wet nurse who had nourished him as a child, expressed himself to the effect that he was sorry that he had not taken better advantage of his opportunity at the time. I am in the habit of using the anecdote to illustrate the factor of subsequence in the mechanism of psychoneuroses.... One of the Parecæ, then, is rubbing the palms of her hands together as though she were making dumplings. A strange occupation for one of the Fates, which is urgently in need of an explanation! This is now found in another and earlier childhood memory. When I was six years old, and was receiving my first instructions from my mother, I was asked to believe that we are made of earth, and that therefore we must return to earth. But this did not suit me, and I doubted her teaching. Thereupon my mother rubbed the palms of her hands together—just as in making dumplings, except that there was no dough between them—and showed me the blackish scales of epidermis which were thus rubbed off as a proof that it is earth of which we are made. My astonishment at this demonstration ad oculos was without limit, and I acquiesced in the idea which I was later to hear expressed in words: "Thou owest nature a death."¹⁷ Thus the women are really Parcæ whom I visit in the kitchen, as I have done so often in my childhood years when I was hungry, and when my mother used to order me to wait until lunch was ready. And now for the dumplings! At least one of my teachers at the University, the very one to whom I am indebted for my histological knowledge (epidermis), might be reminded by the name Knoedl (German, Knoedel = dumplings) of a person whom he had to prosecute for committing a plagiarism of his writings. To commit plagiarism, to appropriate anything one can get, even though it belongs to another, obviously leads to the second part of the dream, in which I am treated like a certain overcoat thief, who for a time plied his trade in the auditoria. I wrote down the expression plagiarism—without any reason—because it presented itself to me, and now I perceive that it must belong to the latent dream-content, because it will serve as a bridge between different parts of the manifest dream-content. The chain of associations—Pélagie—plagiarism—plagiostomi¹⁸ (sharks)—fish bladder—connects the old novel with the affair of Knoedl and with the overcoats (German, Überzieher = thing drawn over—overcoat or condom), which obviously refer to an object belonging to the technique of sexual life.¹⁹ This, it is true, is a very forced and irrational connection, but it is nevertheless one which I could not establish in waking life if it had not been already established by the activity of the dream. Indeed, as though nothing were sacred for this impulse to force connections, the beloved name, Bruecke (bridge of words, see above), now serves to remind me of the institution in which I spent my happiest hours as a student, quite without any cares ("So you will ever find more pleasure at the breasts of knowledge without measure"), in the most complete contrast to the urgent desires which vex me while I dream. And finally there comes to the surface the recollection of another dear teacher, whose name again sounds like something to eat (Fleischl—German, Fleisch = meat—like Knoedl), and of a pathetic scene, in which the scales of epidermis play a part (mother—hostess), and insanity (the novel), and a remedy from the Latin kitchen which numbs the sensation of hunger, to wit, cocaine.

      In this manner I could follow the intricate trains of thought still further, and could fully explain the part of the dream which is missing in the analysis; but I must refrain, because the personal sacrifices which it would require are too great. I shall merely take up one of the threads, which will serve to lead us directly to the dream thoughts that he at the bottom of the confusion. The stranger, with the long face and pointed beard, who wants to prevent me from putting on the overcoat, has the features of a tradesman at Spalato, of whom my wife made ample purchases of Turkish cloths. His name was Popović, a suspicious name, which, by the way, has given the humorist Stettenheim a chance to make a significant remark: "He told me his name, and blushingly shook my hand."²⁰ Moreover, there is the same abuse of names as above with Pélagie, Knoedl, Bruecke, Fleischl. That such playing with names is childish nonsense can be asserted without fear of contradiction; if I indulge in it, this indulgence amounts to an act of retribution, for my own name has numberless times fallen a victim to such weak-minded attempts at humour. Goethe once remarked how sensitive a man is about his name with which, as with his skin, he feels that he has grown up, whereupon Herder composed the following on his name:

      "Thou who art born of gods, of Goths, or of Kot (mud)— Thy godlike images, too, are dust."

      I perceive that this digression about the abuse of names was only intended to prepare for this complaint. But let us stop here.... The purchase at Spalato reminds me of another one at Cattaro, where I was too cautious, and missed an opportunity for making some desirable acquisitions. (Missing an opportunity at the breast of the nurse, see above.) Another dream thought, occasioned in the dreamer by the sensation

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